Les Liaisons Dangereuses - Theatre review

 The National Theatre, London

★★★★★

                     Photograph by: Sarah M Lee

            ‘I thought betrayal was your favourite word.’

            ‘No, no...cruelty.’

Les Liaisons Dangereuses is a show that deep dives into the manipulative side of seduction, using as its backdrop the ruthless circle of the nobility. A circle where genuine love is perceived as weakness and sympathy is laughable. Christopher Hampton’s adaptation of Pierre Choderlos de Laclos’ 1782 novel is turned into a dazzling race of deceit and decadence.

Our story focuses on the Marquise de Merteuil and the Vicomte de Valmont (once lovers and now friendly rivals), who invent games to degrade others for their own entertainemnt. The Marquise asks Valmont to ruin young Cécile de Volanges, but Valmont has his own scheme in place: to seduce Madame de Tourvel, a virtuous woman devoted to her husband and her faith. As they descend deeper and deeper into their treacherous ploys, Valmont becomes victim of his own game when he falls in love with Tourvel, triggering the Marquise’s jealousy and fury. In a glorious finale, reputations are ruined, hearts broken and the baton of cruelty handed to the next generation of aristocracy.

There is a political element, a critique on the corruption and debauchery of the powerful class, who is too privileged to care about anything else. The audience ought to be satisfied with the ruin of the Marquise and Valmont, as justice has been served. But you can’t be. When the ensemble taunts and laughs at the Marquise, forcing her to run off stage in humiliation and despair, there’s a heavy, thick air in the auditorium. It’s overwhelming, though it needs more time for the crescendo to reach its full potential, for her to completely shatter. Marianne Elliott’s direction is all about balance and Machiavellian charm, combining long talk-heavy scenes with movement sequences and sensual interactions that take your breath away, leaving you rattled even if you know exactly what the outcome of the plot will be.

The ongoing mistreatment of others is clearly a defence mechanism, a way to shield themselves from anyone and anything that could touch them and therefore, destroy them. The Marquise’s monologue about the inequality between men and women, the lengths women need to go to in order to survive in a patriarchal world and the tactics she learned to get where she is offers another layer of societal commentary that makes a strong impact. Especially when, in a full circle moment, Cécile repeats the Marquise’s movements from the opening of the play, with a new unsuspected victim. It’s haunting, yet empowering in its own sick way. However, you can’t help feel pity for this new predator, whose ending we assume will be as humiliating and ruthless as the Marquise’s.

The cast consists of an incredibly strong ensemble. Leslie Manville as the Marquise is exemplary, full of grace, fluidity and underlying malice, while Aidan Turner as Valmont is a sight to behold, full of fire and charm. His barbarously pretentious countenance melts when his feelings for Tourvel come to the surface, showing great range and skill. Monica Barbaro as Tourvel is ethereal, yet reserved and it’s not till the second half, when she’s pushed to the brink, that she manages to truly show the character’s internal struggle. Hannah van der Westhuysen as Cécile showcases fabulously the evaporation of purity and naivety, giving us chills with her transformation.

The costumes, designed by Natalie Roar, were nothing but magnificent. When it comes to colour, the play with crimson, white and black becomes part of the story, reinforcing the characters’ starting and ending points. Adding a modern twist to the period aesthetic, the actors look like they float, creating a breath-taking spectacle during the group dance sequences. Rosanna Vize’s stage design, comprises a chandelier, mirrors in the back and snapshots of provocative painted imagery. It brings out the alluring narcissism, but also signifies that the truth will always come to light.

A bold, extravagant production, Les Liaisons Dangereuses is so delightfully unsettling that it will engross everyone. There are no winners, only style and a beautiful interrogation of the many facets of wickedness.